Reflection was composed in 1962, in Tel Aviv, premiered by the composer in
1965, and published by the IMI in July 1969. There are three manuscripts available at the
composer’s archive in Jerusalem. One of them contains numerous corrections and
complies with the printed IMI edition (still featuring numerous typos). Two additional
manuscripts contain an earlier version of the piece.
The cover page of the printed IMI edition carries the title in both English and
Hebrew: Reflections and Hishtakfut. The Hebrew singular (Reflection) matches the title
written in the manuscripts, thus the English plural version is a typographical error. The
title Reflection is vague. It might be inspired by the idea of Miroirs by Ravel. Which
composers are reflected in this piece will remain a mystery. Searching for possible
answers is an approach for constructing interpretation. Shlonsky’s own perception of a
content of the piece as a reflection of the composer’s personality is an important clue. She
said in 1987: “How to write? I have not asked myself this question. I have asked how
[who] am I, and what am I writing for…”.78
Another hint to the object being reflected can be found in her essays of the time.
In 1961, just before she composed Reflection, Shlonsky heard Pablo Casals perform. She
was extremely impressed, and wrote a short essay in Russian, called “Aquarium”.79 She
described the program of the festival, including music from the Baroque and Classical
78 Oded Assaf, “Electronit hi lo savla” (Electronic [music] she could not bear), Ha-‘ir (Tel Aviv, March 2 1990): 70
periods, Romantic and French Impressionism, which she described as “three mirrors of
the music”. She urged contemporary composers to look into these mirrors in order to find
inspiration. Maybe she followed her own suggestion, and Reflection is the result of this
introspection.
The analysis deals with the atonal language and motivic development of
Reflection. The performance guide provides an insight into the latent tonal implications
of the composition.
Section Two: Formal Analysis
Reflection can be interpreted to be Shlonsky’s reflection on the interval of the
second, presented in various ways, such as their inversions and compound variants,
melodic and harmonic appearances, and in conjunct and disjunct motion. The piece is
through-composed, and incorporates motivic development as part of developing
variations and imitative procedures, as when the music is reflected between the hands of
the pianist. Performers can choose to emphasize the atonal aspects of this piece, such as
the sonorities of seconds, as well as short-range tonal implications (e.g. E minor triad can
be heard in m.9 through careful voicing, see the performance notes, below).
Reflection is unusual among Shlonsky’s piano compositions in the conspicuous
lack of bar lines. This notation helps to avoid downbeats, and contributes to a greater
flow during performance. Measures are suggested by the use of brackets above the staff,
indicating the amount and length of beat pulses. Reflection features frequent changes in
both length and number of beats. Shlonsky uses contrast in different layers of
beat values against those presenting regular downbeats. Shifts from longer to shorter
values are used to intensify music textures.
Registers have structural importance, and help to define formal units. The contrast
between conjunct and disjunct motion illustrates simultaneous horizontal and vertical
dimensions of music. Shlonsky uses pedal to define phrases (in slower tempi) and shorter
gestures (in faster tempi), while secco passages usually have a transitional character.
Secco articulations also help emphasize rhythmic aspects. Passages without clearly
repeated patterns can be perceived as freely “improvised,” and are juxtaposed with more
structured “measures” featuring repeated rhythmic and melodic patterns.
The main intervallic materials for motives are major and minor seconds and their
compound variants. While all the notes of each phrase are usually combined in one pedal
cluster, the lowest and the highest notes of each phrase are rarely seconds or their
variants, but instead outline thirds, sixths, perfect fourths and fifths, and tritones. These
intervals, if a performer chooses to bring them out by executing careful accentuation,
may be perceived as more spacious, than seconds and their compound variants.
Phrases are defined by several means, including pedal markings, motives,
dynamics, contour and note duration. Phrases are combined into larger units resembling
arches by means of increasing and decreasing dynamics and note duration, similar to the
dynamic growth and decline of an individual phrase. For example section A (mm. 1–8)
begins with mezzo forte and half notes; the dynamics grow to fortissimo by m.3, while
molto diminuendo in mm. 7–8, and half and whole notes create the feeling of reduced
intensity and finish the section.
Reflection is made up of four sections, distinguished by the tempo markings:
Section A B C D Measure no. 1–8 9–34 35–48 40–72 Metronome and tempo indications e=84 r=112 (IMI states an unplayable tempo e=112) r=120 Meno
Table 12. Form of Reflection
The following table 13 lists phrases in each of the four sections of Reflection as
Section Phrase Measure number 1 1 2 2–4 3 5–6 A 4 7–8 1 9–13 2 14–19 3 20–21 4 22–24 5 25–28 6 28–31 B 7 32–34 1 35–38 2 39–43 3 44–46 C 4 47–48 1 49–51 2 52–54 3 55–57 4 58–59 5 60–61 6 62–63 7 64–65 8 66–67 9 68 10 69 D 11 70–72
Section A features steady pulsation of relatively long beats (quarter and half
notes), and the number of beats per measure vary. The phrases mostly follow the pedal
markings, and are shorter than phrases of the following section. Section A introduces the
basic motivic material, which is developed through variation and imitative procedures in
the following sections.
Faster tempo and shorter beats, eighth and quarter notes instead of the quarter and
half notes from section A, characterize section B. The pulsation is unsteady due to
frequent changes in the length of the beat. Pedal markings, making up phrases, in this
section define shorter gestures. Motives introduced in the section A, as well as new
motives introduced in section B, continue to be developed.
Dance–like section C features steady pulsation, habanera tresillo patterns, tango–
like on– and off–beat rhythms, syncopations. The music’s rhythms explore unfulfilled
expectations of downbeats, and periodicity of phrasing. Imitative procedures have bigger
impact on motivic development in this section, due to the importance of repeated
patterns.
Three–staff writing emphasizing the importance of the low register part is an
important characteristic of section D, which recalls recognizable features of the previous
sections: steady pulsation of slow beats from section A, irregularity of beats from section
B, and dance–like syncopations from section C. Fragmentation becomes an important
method of motivic development: the motives are weaved together in such way that their
notes often are interleaved. In less obvious places such as mm. 56–57 Shlonsky draws
Section Three: Motivic Analysis
Reflection is an atonal and through–composed, featuring motivic development by
means of imitative procedures and developing variation, including restatement,
modification, transformation, fragmentation and fusion. All motives of the composition
are built out of seconds and their compound variants. Motives involve horizontal and
vertical intervals, as well as trills and grace notes, as shown in figure 24 below.
Figure 24. Reflection, mm. 1–8.: horizontal motives a and b, “trill” motive and the vertical modification of motive a
The first phrase (m.1) features motive a and b in a two-layer texture. Motive a in
the right hand consists of two half notes outlining a descending major ninth. All
consequent two-note motives, involving second, seventh or ninth intervals, ascending and
descending, can be heard as modifications of motive a.
“trill” motive
motive a
motive b
The motive b is a three-note gesture, first heard as a descending minor seventh
and ascending compound major ninth, featuring an anapestic rhythm of “short-short-
long”. The motive is a fusion of two occurrences of motive a: Cf-Df and Df-F. A modification of motive a using eighth notes is introduced in m.2, followed by imitation in
the left hand in m.3. Motives a and b are restated in m.4, while the motive a is transposed
perfect fourth up, and motive b is transposed minor sixth up, and its melodic contour is
modified: semitone and whole tone (Bs-Bd-Ds) instead of two whole tones (Cf-Df-Fd). The melodic distance between trills on As5 and on Ff3 in m.5 spans a compound second. The last phrase (mm. 7–8) transforms motives a in four occurrences: by
prolonging the first note of each motive, the melodic interval becomes harmonic, creating
a four-note texture, and foreshadows the appearance of harmonic motive a at the
beginning of section B in m.9.
Section B (mm. 9–34) is characterized by faster tempo and shorter beats, mostly
eighth and quarter notes instead of the quarter and half notes used in section A. In section
B the pedal markings define shorter gestures, which make up phrases. The beginning of
first phrase spanning mm. 9–13, modifies motives a: a vertical motive in the right hand,
and a horizontal one in the left hand. Two rising exclamatory gestures (mm. 10–11) are
further modifications of motive a, lead to the highest point of the phrase (F6) in m.11.
A new motive c is introduced in m.12, serving as an expansion for the third
motives a: Ed3-Es5 and G4-Fd5. It also can be seen as a flattening of motive b to move in one single contour direction. A four-note formation of three modified motives a in m.13
finishes the phrase.
The second phrase (mm. 14–19) begins with a long Gs2.80 This low register
comes back in m.18 featuring F2, followed by E2 and A1, creating an underlying bass
line. The second phrase features numerous vertical and horizontal motives a, and an
additional motive d (m.15) characterized by a repeated tone, modified in m.16 by
speeding up twice as fast to 16th notes. This change to faster note values, followed by
crescendo molto and fortissimo and a sudden drop to pianisissimo, reflects the arch
phrase structure, intensification followed by relaxation.
The modified pair of exclamatory gestures, introduced in mm. 10–11 is restated in
m.17 as a four-note formation: the note speed is again doubled (16th notes instead of
eighths). The intervals here are placed in the same register, unlike the original passage in
mm. 10–11 which spreads across five octaves. The proximity of the melodic lines brings
out the horizontal second intervals in the inner voice (C5-Ds5-Dd5-C5).
Third phrase (mm. 20–21) also follows the arch structure. It starts calmly in
mezzo piano and intensifies by shifting to forte in the middle of the phrase and to shorter
note values (32nd and 16th notes). The tension is reduced by a switch to piano,
80 The length of the Gs2 note in the IMI edition is a half note. In the MS the note is marked as a whole note. However, based on the meter indication, the note should last 5 eighth notes.
pianissimo and finally pianisissimo. A motive c in the right hand in m.21 introduces
syncopation, which is imitated by the contour inversion of the motive b at the beginning
of the following fourth phrase (m.22). A six-note motive featured at the end of m.21 is
composed of motives b and c. Seconds are introduced between the first and fourth notes,
second and fifth, and third and sixth, as shown in the figure 25:
Figure 25. Reflection, mm. 20–21: syncopated motive c and the seconds inside the six-note motive
Gs2 near the beginning of the fourth (mm. 22–24) and fifth (mm. 25–28) phrases preceded by energetic lead-ins has structural importance, marking the beginning of the
phrases. Similarly, long Gs2 marked the beginning of the second phrase (m.14). Motive b featuring an inverted contour in the left hand creates the lead-in in the fourth phrase. This
lead-in is an imitation of contour of the closing gesture in the left hand of the previous
phrase.
The fourth phrase (mm. 22–24) features a three-note motive c using short note
values (32nd notes instead of quarter notes), distinguishing clearly the distinctive
anapestic rhythm “short-short-long”. This motive appears three times, twice in m.22 and
syncopated motice c
once in m.24, and takes part in imitative procedures: first it appears in the right hand
(m.22) and is imitated by the left hand. In m.24 motive c in the left hand imitates a
modified motive b in the right hand. The motive b is modified by a pick-up note. The
contour of the motive b together with the following note B5 of the motive c resembles a
wave similarly to the six-note motive featured in m.21 (see figures 25 and 26 for
comparison).
The motive c is split in its second and fourth appearances: the first note is played
by the right hand, and the rest by the left.
Figure 26. Reflection, mm. 22–24: motives c (red) and a modified motive b (blue) and points of imitation
Fifth phrase (mm. 25–28) features motives a, b, c and d¸ as well as a new five-
note motive in m. 25, perhaps an extension of the inner chromatic voice in m.17. A grace
note appears for the first time in m.27 serving as a pick-up to the “repeated note” motive
d. The motive b (Gs2-Gd1-B1) in m. 26 is emphasized by means of the longer note
Fusions of the motives are featured in the following phrase (mm.28–31): of two
motives a (1), b and a (2) and dotted rhythm in motive a and b (3), as shown in the figure
27:
Figure 27. Reflection, mm. 28–31: motivic fusion and introduction of dotted rhythm The last phrase of the section B (mm. 32–34) presents four distinct registers by
juxtaposing motives b in the right and motive c in the left hand in m.32 in high and low
registers, followed by repetition of the modified motive d in the middle register, and
finishing the phrase in the extreme bass register, with the lowest pitch of the composition
Ds1 in m.34.
Section C (mm. 35–48) is characterized by a faster tempo (r=120 instead of e=112), regular beats, periodicity of the phrases inspired by dance rhythms, and on- and off-beat rhythms resembling tango.81 The avoidance of downbeats guides the form of this
81 Shlonsky mentioned the importance of dance in art music on several occasions: in her essay “Song in Israel” published in 1935 in one of the two leading Israeli newspapers “Davar”; in another essay “Palestine and Jewish Music” published in 1942 in Zionist newspaper “The New
(1)
(3)
section. The first phrase (35–38) does not feature a downbeat until its last measure
(m.38). Complete avoidance of downbeats in the second phrase (mm. 39–43) makes the
strong beats of the third phrase twice more exuberant and exultant.
The softer dynamics of the fourth phrase (mm. 47–48) help to close the arch of
energy of section C. The last measure of the section (m.48) features 5 beats of 16th notes;
the measure can be heard as containing four 16th notes, if the last 16th note is perceived
as a pause, serving as a caesura before the beginning of the following section D. Measure
47, containing six eighth notes together with m.48 containing five 16th notes (or two and
a half eighths) can be perceived as one measure of eight eighth-notes followed by a
caesura, matching the periodicity of phrasing of the section C.
Tango-like syncopations, on- and off-beat motivic restatements, and habanera
(and tango) 3+3+2 mixed meter play, significant roles in shaping section C. For example,
motive c in m.35 features a syncopated rhythm of “short-long-short”. Similarly, a
formation of two motives a (a vertical and a horizontal manifestation) on a downbeat of
m.38 feature this syncopated pattern.
The same “short-long-short” motive appears again in the second measure of the
second phrase (m.40): the downbeat (“short”) is missing, so the “long-short” part is
presented by two motives a – again horizontal and vertical. The syncopation pattern is
recognizable, and the missing “short” beat amplifies the missing downbeat.
Judaea” in London; in her interview in 1987 to Oded Assaf, published after her death in 1990 etc. During the 1987 interview she said that she wrote numerous Hora-dances to make some money, but she also composed tango, since she hopes that the youth of Israel will eventually find itself in ballrooms.
Motives are paired in such way, that one is off-beat, while the other is on-beat.
For example, motive b in m. 36 is repeated twice: the first time it begins on the second
16th note of the measure (relatively weak beat), while the second time it starts on the
second relatively strong quarter note of the measure. Similarly two appearances of the
vertical motives a in m.45 begin on a weak beats, then again on a relatively strong beat.
The typical habanera (and tango) meter 3+3+2 is featured in the third phrase of
the section (mm. 44–46) as shown in the figure 28 below:82
Figure 28. Reflection, mm. 41–46 : habanera-“tresillo” meter
Section D (mm. 49–72) features return of quarter note beats introduced in section
A, three-staff writing, providing the additional staff for the low register, and a recitative-
like passage (m.58–59). The longer beats combined with the slower tempo (meno starting
m.49) provide a calmer mood. The additional staff serves to set the low register apart
82 Habanera had significant impact on development of Argentinean tango. See Frances Barulich and Jan Fairley. "Habanera." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 30 Apr. 2015.
<http://www.oxfordmusiconline.com.ezproxy.bu.edu/subscriber/article/grove/music/12116>. 1 2 3 | 1 2 3 | 1 2
from the occasionally dense texture (for example in mm. 56 and 71). The recitative-style
passage in mm. 57–58 is marked profondo and further illustrates the importance of the
low register part.
Motives weaved together challenge both performer and audience, especially since
motivic tones frequently are not in immediate temporal proximity to each other. This
concept was seen as early as section B, m.21 (see figure 25), however in final section D,
this interweaving concept is realized more fully. Dynamics, registers and the note
duration play essential roles in helping the listener distinguish the motives. The first
phrase (mm. 49–51) begins with motives b, c and motive a written in 16th notes (m.49).
Their equal pulsation helps establishing new tempo, marked meno. A five-note motive in
m.49 (C6-E5-Ff4-D5-Cf6) followed by a single pitch F6 at the beginning of m.50, results from the interlocking fusion of three motives a (see fig. 29). The first and the last
notes, C6- Cf6, are linked through a minor second; the second and the fourth notes, E5-
D5, are linked by a major second. The third note Ff4 does not have a counterpart in its register, but is linked to the single pitch F6 in m.50 through the contrast of extreme
Figure 29. Reflection, mm. 48–51: interlocking fusion of three motives a
Measures 50–51 feature imitative procedures, involving all three parts as arrows
illustrate in the figure 30. For example, the four-note motive in the upper part of m.50 is
imitated by the four-note motive featuring inversion of contour in the middle part in
m.51. The appearance of the trill in m.51 is an additional reminder of section A.
In section D, the following second (mm.52–54), third (mm. 55–57) and fourth
(m.58) phrases suggest a reminiscence of the section B, featuring frequent changes of the
length and number of beats. While the change from eighth beats to quarter note beats in
mm. 49–50 is difficult to notice (the four eighth notes of the m.49 can be perceived as
two quarter notes), the change in mm. 52–54 is perceived as a more significant metric
event: the note duration in m.54 becomes four times as long as in the preceding two
measures (eight notes instead of 32nd notes). Dynamic contrast is found between loud
vertical motives and soft horizontal passages (the passages begin softly and usually
feature crescendo) in mm.52–57. For example m.53 introduces a four-note fusion of two
vertical motives a marked with fortissimo and accents. The following four-note
horizontal fusion of two occurrences of motive a begins with pianissimo. Similarly a
vertical motive a in m.55 is marked forte, while the following five-note modified motive
b begins with piano.
Shlonsky’s use of three staffs in section D suggests the importance of the low
register, and helps to clarify the occasionally dense of texture. Shlonsky uses lines to